English (United Kingdom)

https://curated-unify.zendy.io/wp-json/zendy-region/v1/featured_content/oa?rat=en

https://curated-unify.zendy.io/wp-json/zendy-region/v1/highlighted_journal/

Global: Zendy Plus annual

Presents the access of premium content as premium feature

Premium Content

Presents the keyphrase highlighting as premium feature

Keyphrase Highlighting

Presents the summarisation as premium feature

Summarisation

Insights

Presents the pdf analysis as premium feature

PDF Analysis

Presents the zaia usage as premium feature

ZAIA

Global: Zendy Plus monthly

Global: Zendy Tools annual

Global: Zendy Tools monthly

Global: Zendy Free Plan

This article examines the nature of skilled practice within two settings of musical performance, the rehearsal and the compositional workshop. Drawing primarily on the work of Richard Sennett and Tim Ingold, I suggest that a characterisation of musical performance as a craft practice attends to the development of skill and expertise through the performer’s physical and everyday encounters with the world and provokes a reconsideration of the dimensions of performance that might otherwise be taken for granted. The first case study addresses rhythmic coordination during a rehearsal of Four Duets for clarinet and piano (2012), composed by Edmund Finnis for Mark Simpson and Víkingur Ólafsson, and the second traces the development of instrumental techniques by composer Evan Johnson and performer Carl Rosman as they collaborate on a new work for historical basset clarinet, ‘indolentiae ars’, a medium to be kept (2015). The article makes the case for skilled practice as an improvisatory interplay between performers and the meshwork of people, objects, histories and processes which they inhabit.

The craft of musical performance: skilled practice in collaboration